The Aesthetical Essays by Friedrich Schiller (reading strategies book .TXT) 📕

poet describes his pictures. Many of his odes, many separate traits in his dramas, and in his "Messiah," represent the object with a striking truth, and mark the outline admirably; especially, when the object is his own heart, he has given evidence on many occasions of a great natural disposition and of a charming simplicity. I mean only that it is not in this that the proper force of Klopstock consists, and that it would not perhaps be right to seek for this throughout his work. Viewed as a production of musical poetry, the "Messiah" is a magnificent work; but in the light of plastic poetry, where we look for determined forms and forms determined for the intuition, the "Messiah" leaves much to be desired. Perhaps in this poem the figures are sufficiently determined, but they are not so with intuition in view. It is abstraction alone that created them, and abstraction alone can discern them. They are excellent types to express ideas, but they are not individuals nor living figures. With regard to the imagination, which the poet ought to address, and which he ought to command by putting before it always perfectly determinate forms, it is left here much too free to represent as it wishes these men and these angels, these divinities and demons, this paradise and this hell. We see quite well the vague outlines in which the understanding must be kept to conceive these personages; but we do not find the limit clearly traced in which the imagination must be enclosed to represent them. And what I say here of characters must apply to all that in this poem is, or ought to be, action and life, and not only in this epopoeia, but also in the dramatic poetry of Klopstock. For the understanding all is perfectly determined and bounded in them - I need only here recall his Judas, his Pilate, his Philo, his Solomon in the tragedy that bears that name - but for the imagination all this wants form too much, and I must readily confess I do not find that our poet is at all in his sphere here. His sphere is always the realm of ideas; and he knows how to raise all he touches to the infinite. It might be said that he strips away their bodily envelope, to spiritualize them from all the objects with which he is occupied, in the same way that other poets clothe all that is spiritual with a body. The pleasure occasioned by his poems must almost always be obtained by an exercise of the faculty of reflection; the feelings he awakens in us, and that so deeply and energetically, flow always from super-sensuous sources. Hence the earnestness, the strength, the elasticity, the depth, that characterize all that comes from him; but from that also issues that perpetual tension of mind in which we are kept when reading him. No poet - except perhaps Young, who in this respect exacts even more than Klopstock, without giving us so much compensation
- no poet could be less adapted than Klopstock to play the part of favorite author and guide in life, because he never does anything else than lead us out of life, because he never calls to arms anything save spirit, without giving recreation and refreshment to sensuous nature by the calm presence of any object. His muse is chaste, it has nothing of the earthly, it is immaterial and holy as his religion; and we are forced to admit with admiration that if he wanders sometimes on these high places, it never happened to him to fall from them. But precisely for this reason, I confess in all ingenuousness, that I am not free from anxiety for the common sense of those who quite seriously and unaffectedly make Klopstock the favorite book, the book in which we find sentiments fitting all situations, or to which we may revert at all times: perhaps even - and I suspect it - Germany has seen enough results of his dangerous influence. It is only in certain dispositions of the mind, and in hours of exaltation, that recourse can be had to Klopstock, and that he can be felt. It is for this reason that he is the idol of youth, without, however, being by any means the happiest choice that they could make. Youth, which always aspires to something beyond real life, which avoids all stiffness of form, and finds all limits too narrow, lets itself be carried away with love, with delight, into the infinite spaces opened up to them by this poet. But wait till the youth has become a man, and till, from the domain of ideas, he comes back to the world of experience, then you will see this enthusiastic love of Klopstock decrease greatly, without, however, a riper age changing at all the esteem due to this unique phenomenon, to this so extraordinary genius, to these noble sentiments - the esteem that Germany in particular owes to his high merit.

I have said that this poet was great specially in the elegiac style, and it is scarcely necessary to confirm this judgment by entering into particulars. Capable of exercising all kinds of action on the heart, and having graduated as master in all that relates to sentimental poetry, he can sometimes shake the soul by the most sublime pathos, at others cradle it with sweet and heavenly sensations. Yet his heart prefers to follow the direction of a lofty spiritual melancholy; and, however sublime be the tones of his harp and of his lyre, they are always the tender notes of his lute that resound with most truth and the deepest emotion. I take as witnesses all those whose nature is pure and sensuous: would they not be ready to give all the passages where Klopstock is strong, and bold; all those fictions, all the magnificent descriptions, all the models of eloquence which abound in the "Messiah," all those dazzling comparisons in which our poet excels, - would they not exchange them for the pages breathing tenderness, the "Elegy to Ebert" for example, or that admirable poem entitled "Bardalus," or again, the "Tombs Opened before the Hour," the "Summer's Night," the "Lake of Zurich," and many other pieces of this kind? In the same way the "Messiah" is dear to me as a treasure of elegiac feelings and of ideal paintings, though I am not much satisfied with it as the recital of an action and as an epic.

I ought, perhaps, before quitting this department, to recall the merits in this style of Uz, Denis, Gessner in the "Death of Abel" - Jacobi, Gerstenberg, Hoelty, De Goeckingk, and several others, who all knew how to touch by ideas, and whose poems belong to the sentimental kind in the sense in which we have agreed to understand the word. But my object is not here to write a history of German poetry; I only wished to clear up what I said further back by some examples from our literature. I wished to show that the ancient and the modern poets, the authors of simple poetry and of sentimental poetry, follow essentially different paths to arrive at the same end: that the former move by nature, individuality, a very vivid sensuous element; while the latter do it by means of ideas and a high spirituality, exercising over our minds an equally powerful though less extensive influence.

It has been seen, by the examples which precede, how sentimental poetry conceives and treats subjects taken from nature; perhaps the reader may be curious to know how also simple poetry treats a subject of the sentimental order. This is, as it seems, an entirely new question, and one of special difficulty; for, in the first place, has a subject of the sentimental order ever been presented in primitive and simple periods? And in modern times, where is the simple poet with whom we could make this experiment? This has not, however, prevented genius from setting this problem, and solving it in a wonderfully happy way. A poet in whose mind nature works with a purer and more faithful activity than in any other, and who is perhaps of all modern poets the one who departs the least from the sensuous truth of things, has proposed this problem to himself in his conception of a mind, and of the dangerous extreme of the sentimental character. This mind and this character have been portrayed by the modern poet we speak of, a character which with a burning sensuousness embraces the ideal and flies the real, to soar up to an infinite devoid of being, always occupied in seeking out of himself what he incessantly destroys in himself; a mind that only finds reality in his dreams, and to whom the realities of life are only limits and obstacles; in short, a mind that sees only in its own existence a barrier, and goes on, as it were, logically to break down this barrier in order to penetrate to true reality.

It is interesting to see with what a happy instinct all that is of a nature to feed the sentimental mind is gathered together in Werther: a dreamy and unhappy love, a very vivid feeling for nature, the religious sense coupled with the spirit of philosophic contemplation, and lastly, to omit nothing, the world of Ossian, dark, formless, melancholy. Add to this the aspect under which reality is presented, all is depicted which is least adapted to make it lovable, or rather all that is most fit to make it hated; see how all external circumstances unite to drive back the unhappy man into his ideal world; and now we understand that it was quite impossible for a character thus constituted to save itself, and issue from the circle in which it was enclosed. The same contrast reappears in the "Torquato Tasso" of the same poet, though the characters are very different. Even his last romance presents, like his first, this opposition between the poetic mind and the common sense of practical men, between the ideal and the real, between the subjective mode and the objective mode of seeing and representing things; it is the same opposition, I say, but with what a diversity! Even in "Faust" we still find this contrast, rendered, I admit - as the subject required - much more coarsely on both hands, and materialized. It would be quite worth while if a psychological explanation were attempted of this character, personified and specified in four such different ways.

It has been observed further back that a mere disposition to frivolity of mind, to a merry humor, if a certain fund of the ideal is not joined to it, does not suffice to constitute the vocation of a satirical poet, though this mistake is frequently made. In the same way a mere disposition for tender sentiments, softness of heart, and melancholy do not suffice to constitute a vocation for elegy. I cannot detect the true poetical talent, either on one side or the other; it wants the essential, I mean the energetic and fruitful principle that ought to enliven the subject, and produce true beauty. Accordingly the productions of this latter nature, of the tender nature, do nothing but enervate us; and without refreshing the heart, without occupying the mind, they are only able to flatter in us the sensuous nature. A constant disposition to this mode of feeling ends necessarily, in the long run, by weakening the character, and makes it fall into a state of passivity from which nothing real can issue, either for external or for internal life. People have, therefore, been quite right to persecute by pitiless raillery this fatal mania of sentimentality and of tearful melancholy which possessed Germany eighteen years since, in consequence of certain excellent works that were ill understood and indiscreetly imitated. People have been right, I say, to